What are the stories of Magnolia in the history of Peking Opera?

Teacher Yu Lan is a famous Peking Opera performer, a famous Peking Opera performer, a national first-class actor and an excellent military Peking Opera actor.

Everyone knows Yulan, and they like Yulan University from some TV dramas starring her, such as the movie "Kanto Hero" and "Kanto Woman", and the once sensational TV series "Shenzhen People". It was not until later that I watched the modern drama Du Fu Shan starring Yu Lan. Listening to this singing and watching this spirit was not inferior to her film and television drama performance, so we knew that Yu Lan was an excellent Peking Opera actor. It is obvious that she is a versatile actress. Intuitively speaking, is it easier for film and television dramas to become famous? She once replied that it was of course. In fact, she/Kloc-began to learn Peking Opera at the age of 0/4, with Peking Opera blues as the main theme. Her teacher, Bishop Zhang Ronghua, was called the teacher of Northeast Xiaoguan at that time. She discovered Yu Lan and later became her key training object. Later, the play won the first prize of provincial and municipal performances there. Yu Lan should say that she studied drama at an early age, first as a sword and horse, then as a Hua Dan Tsing Yi, but I heard that she also played cross-dressing. "The Story of Lu Bu and Diusim" is the story of Diusim before and the story of Lu Bu after, so I don't want to say that Beijing opera and film and television dramas are cross-artistic, but this cross-line performance seems to be rare in Beijing opera. She said modestly that she learned everything but was not good at anything.

Many friends who like Yu Lan have such a question, that is, how did she have such rich acting experience? That's some accidental factors. As for her, she was born with a good voice and powerful voice, but she didn't pay attention to the study of singing. Because she was admitted to a drama school to study model operas, she was fourteen years old and studied drama late, so she practiced hard and made great progress. In fact, she returned to Beijing Opera Blues. It was 1984. By chance, their theater arranged a new play called The Story of Reunion. When the performance approaches, the protagonist is the protagonist of the second daughter-in-law. After getting well, the theater said, let Xiao Yulan try. What kind of play is this? It's a family ethics drama. Besides, her mother-in-law abused her eldest daughter-in-law in various ways, and she was infertile. Before the second daughter-in-law came in, she heard that her mother-in-law was particularly evil, and then made a plan on how to abuse her daughter-in-law. After I came in, she abused her mother-in-law, that is, deal with her as you deal with her, and finally educated her. The mother-in-law is also very kind to her daughter-in-law, and the family is reunited. This should be a major role. This is a very important role. Perhaps because of her young age and newborn calf, she boldly took over the script. Teacher Zhang Ronghua is there. In a few days, I helped her design sleeves, Hua Dan's things, shoulders shaking, steps and so on. Then, in a week or so, she used her intuition to understand the script and the characters. A very natural and straightforward performance showed the role's fierceness and kindness, the kind of calculating little girl. Unexpectedly, this performance really impressed the audience and their leaders. They think that Yu Lanqing is very talented in acting and has a good voice, so they arranged a series of plays for her, such as The Story of Lu Bu and Diusim and Mu's Big Sky Array.

It should be said that apart from accidental opportunities, the general environment is different, because the Northeast is different from Beijing, unlike Beijing's requirements for actors, and the school you study is so rigorous, which means that as long as you learn the tricks well and perform them well, the audience will like you and agree with you, and no matter what role you create, there are not so many constraints, it is the same.

She has acted in so many TV dramas. What kind of help does it have for the Peking Opera she has played before? How did she feel differently in the performance? She has not actually studied film and television performance and its theoretical knowledge, but she has explored it in practice. In fact, film and television performances pay great attention to the inner life experience of the characters, and then show it in your lifestyle and natural state. For opera, we should pay special attention to the teacher's oral guidance, stroke by stroke. Because she thinks that opera itself needs you to use stylized means of expression to complete the characters, but it also needs the thoughts and feelings of the characters, and even the foundation of life. Yu Lan believes that the two are just different in form and have the same purpose. But you see that one is life-oriented and the other is stylized, but she is quite handy in acting and acting, and she is also very logical. Is there any connection between the two? She believes that, in fact, they are intrinsically and intrinsically linked. Beijing opera, drama, opera and ballet, including movies, television and even calligraphy and painting, are all similar, and she thinks they are staggered. When she was studying Mei Pai Opera, Mr. Jiang Fengshan said that he said that Master Mei Lanfang's singing was vigorous and euphemistic, like block-letter calligraphy, which was regular and graceful, and was by no means cursive. She thinks that art is analogical and can learn from each other. For example, after she made so many movies, she felt that Peking Opera helped her a lot. The rhythm, language rhythm, body rhythm and performance rhythm fully felt that opera was an art form that paid equal attention to experience and performance. The performance of Peking Opera is very traditional, because the traditional opera aesthetics has its classic and profound principles. China's traditional opera art has its exquisite, beautiful and rigorous programs, but their current audience feels that the story is old-fashioned, or the singing is too slow, and the programs are repeatedly used, which is not innovative and does not conform to the aesthetic psychology of modern audiences. In fact, she thought it was a misunderstanding. In fact, the program itself is an artistic representation of life and a representation of past life. It is also a concrete embodiment of the artistic characteristics of the play, such as virtuality, exaggeration, deformation and vividness. In fact, the foundation is life, and traditional opera needs to be passed down, inheriting its classic plays and characters forged through hard work and procedural kung fu, but the procedural kung fu created by these predecessors actually comes from life. There is a saying in the opera world that a master's master is life. Li Zigui, a famous director, once summed up in one of his books that our artists created those external skills only after experiencing the thoughts and feelings of the characters. If we don't understand and experience the characters' thoughts and feelings, but just pile up some actions of singing, reading, doing, playing and playing, it is impossible to keep so many brilliant artistic images of the characters on the stage by singing, reading, doing, playing and playing. Therefore, these inspirations to Lan are really great, and they also remind her invisibly that she should strive to find the foundation of life and the inner psychological foundation of the characters in the external actions of the program. For example, when Mr. Liu was learning "The Legend of the White Snake" from his teacher, he said that the White Snake went to Xianshan to steal grass and took water to Jinshan. In modern terms, it is called defending love. As young people, we should all have certain love experiences and emotional experiences, so we should really understand the power of love, especially in the scene of broken bridge. In despair, Xu Xian only asked Mrs. Bai and his wife to forgive him. Mrs White Snake looked at Xu Xian at this time. This kind of hatred, pity and love for him really gathers together, then uses the sleeve, slaps it off, throws it up after it is finished, and then points it out. "Why, you also want to help your wife? You have the heart to hurt me? " Just a few things you want to do. Her emotional level is progressive, including her external behavior. That's the kind of thing. In fact, this is stylized. If you vaguely shake your sleeves and point at him after you say it, you will definitely not achieve this effect. As an actor, the audience can know as much as you have in mind. As far as ancient life and modern life are concerned, she thinks that no matter ancient people or modern people, they are all people first, people have humanity and people's thoughts and feelings. As long as you accurately express the people's thoughts and feelings, you will shock the audience. As Mr. Gai Jiaotian said in his book Black Powder Spring and Autumn Annals, life is the foundation of artistic creation, that is, it is very important for them to learn drama and who to learn from, but who is the master among the masters? That's life, so it's more important to learn from life.